Here I’ve selected some preludes of Anatol Liadoff (1855-1914). Liadoff was a Russian late romantic composer who had studied piano at the St. Petersburg Conservatory and composition with Rimsky-Korsakov, and in 1887 joined the faculty teaching mostly composition. The principle influence in his music was Chopin. Liadoff was long fascinated by counterpoint, and in his polyphonic style the left hand often transcends mere accompaniment and blooms into a rich counter melody. Consequently, I sometimes, not always, chose to treat the balancing of the hands more as a duet between voices. (Incidentally, I found this tendency in Catoire’s music too, which is not surprising as he had studied composition with Liadoff.)

In choosing preludes, I first consulted the PS archive so as not to duplicate pieces already submitted. So these are the ones I recorded:

Hi David,I like these pieces, and you played them very nicely! And I can certainly hear the Chopin influence! This Op. 36 no. 3 piece here is so similar to Chopin's "Trois Nouvelles Etudes" No. 2!! (I've been meaning to record these etudes but just haven't got around to it....).

Anyway, these are up. Just one little thing: When you are submitting several pieces that go into a page we already have on the site, please include the same information that is on the other pieces. I know you supplied some information, but I needed other information such as the key and the name on the opus. I had to do a bit of checking into these pieces to get all the pertinent information - like the the first piece is not a Prelude, but rather a Pastoral. Also, our naming standard is Liadov, not Liadoff. I changed that too.

_________________"Simplicity is the highest goal, achievable when you have overcome all difficulties." ~ Frederic Chopin

I'm glad you enjoyed these Liadoff pieces. And I'm glad you mentioned the Chopin "Trois Nouvelle Etude" No. 2. I was racking my brain to recall the Chopin piece that seemed to influence 36/3. Thanks!

Yes, I normally do put the key signatures in to postings like this, and should have done so in this case. I'll remember that for next time.Hmmm, you're in error though on Op. 33, No. 1. I have The Well-Tempered Press Edition open and 33/1 is clearly marked "Prelude", not Pastoral. So then I double checked in the IMSLP which depicts the Muzyka Edition in Russia which also shows the piece to be titled as "Prelude". Thus, I'm confident that it was correct the way I originally listed it. If you could kindly change it back, it would be helpful.

As for the key signature, I believe you meant to put F minor, not major. But some might debate that the piece is in its relative major of A flat. The opening bass harmony is low F which is evidence for F minor along with the melancholy sound as the piece unfolds maintaining the Fm feeling. However during the last four measures of the piece, there is modulation whereby the tonal sense shifts to A flat, and in the final measure the bass harmony is A flat and the top note in the treble clef is A flat too. So there is some tonal center ambiguity there for sure. It seems that Fm prevails through most of the piece, but A flat controls the latter part of the piece and gets the last word. I guess I can be had either way on it.

I'm certainly OK with the naming convention of Liadov rather than Liadoff. In the U.S. Liadoff is probably more the norm. Both Hinson's Guide to the Pianist's Repertoire and Friskin & Feundlich's Music for the Piano lists the composer as Liadoff. But no question that in Europe Liadov is the usual spelling, and, of course, Piano Society is based in Europe, thus the convention. It's The Golden Rule: He who has the gold makes the rules.

Thanks again!

David

_________________"Interpreting music means exploring the promise of the potential of possibilities." David April

These naming conventions... It all depends what you wish to reflect: pronunciation or original spelling, which neither version reflects. This might sound pedantic, but improper transliteration does influence pronunciation. in this case the "ia" does not stand for 2 letters (ie, not li-a-dov) but one (lya-dov). The same goes for Scryabin. Something equivalent in English would be to write not "pi" (the Greek letter) but pai. To complicate matters final v in Russian sounds like f (not double ff - double ff coming from the spelling rule that words ending with f double it, Hence Rachmaninoff, though the double ff usually derives from French transliterations). I mention Rachmaninov and here the "ch" stands for a sound that in English is non-existent: kh. Another name where the same sound is present is transliterated as Hvorostovsky (the h sound does not exist in Russian) and not Chvorostovsky or Khvorostovsky. Add to that that stess is disdained in any transliteration and some Russians end up with brand-new surnames. Take one of the secretaries-general usually called "KRUchev" when in matter of fact the k is a kh and the e is pronounced "yo" and is stressed and the "sh" sound is another letter inexistent in other languages. In the end only the "u" is pronounced as it should be. To add to the confusion each language has its spelling conventions, so that the same composer seems to have an infinite variation of surnames: Shostakovich, Chostakovitch, Schostakowitsch, Szostakowicz... I myself have two on the 4 Russian visas I have obtained over the years.

There is the (true) story of the Englishwoman, surname Price, who married a Russian and went to live there, eventually obtaining a Russian document or another where her name had been tranliterated. Somehow the inverse process took place and she ended up with a passport where her surname was no longer Price but Prays.

_________________Richard Willmer"Please do not shoot the pianistHe is doing his best."Oscar Wilde: Impressions of America: Leadville

I had only known Liadov's Music Box prior to hearing your performances of these preludes.

I think I will have a closer look at these myself.

Thank you.

As for naming conventions, in the UK, from what I've seen, "ff" was favoured at the end of the 19th century and in the earlier part of the twentieth century. In the later twentieth century onwards the "v" is more common but I still see many newly published scores that use "ff" so I'm not sure if there is a European rule as such.

Ok, sorry about the error, David. I somehow mixed up the third piece in Op. 33 (which is the Pastoral) with the first one (the Prelude). I can’t make the correction while at work, so I’ll try to do it either tonight or tomorrow night.

_________________"Simplicity is the highest goal, achievable when you have overcome all difficulties." ~ Frederic Chopin

Good work on these beautiful miniatures David ! You made a good selection, although it seems like any Liadov piece is ok. Whichever one you pick, it always has at least one great tune, and will lie beautifully (though not always easily) under the fingers. Like most Russian composers, Liadov seems to have an instinctive understanding of the piano (from the all too little I know of him he was not a virtuoso himself). All his pieces are grateful, although sometime of them are just painfully short. Some of these are over just when you think they might begin to develop. If only Liadov's obvious melodic gifts had been matched by some industriousness... he might have been a great composer instead of a marginal one. At least page turns will not have been a big problem here

You need not have worried about duplication items on the site. We could use some better versions of the ones I recorded

Thanks for that background on transliteration. Something else that makes the subject even more mysterious is that there is not a direct phonetic correlation between the Cyrillic and Latin alphabets meaning that the novice cannot simply line up a Cyrillic alphabet chart with a Latin one and begin spelling our words.

Your Rachmaninoff example is interesting (and controversial between Yanks and Brits) because if it had originally been Rachmaninov in Russia, when he came to the U.S. his signature was always written as Rachmaninoff, so clearly he preferred that form of the name. I had once read that phonetically in pronunciation the -ov sound is more firm while the -off is a softer sounding ending.

David

_________________"Interpreting music means exploring the promise of the potential of possibilities." David April

Thanks for listening and I'm glad you enjoyed these miniatures. I didn't quite know what to expect when I delved into these preludes, but was pleasantly surprised. I'm positive you'd have a similar experience with them as well.

Yes, there seem to be as many music editions labeled Rachmaninoff as Rachmaninov. I've noticed that too.

David

_________________"Interpreting music means exploring the promise of the potential of possibilities." David April

I tried to discover Liadoff's piano teacher at St. Petersburg Conservatory, but failed. Clearly he had some aptitude there, but was totally drawn to composition. (Liapunoff was an extraordinary virtuoso!) He's been criticized sometimes for not composing in larger forms. One trait he had was dreaming of big plans and being long on promises, but he was often procrastinating too. He left behind an unfinished opera, for example. By and large, he seemed very content in writing miniatures. But so many are gems!

I totally agree with you on the matter of his piano music falling well under the hands--but not always. I have fairly large hands myself, but I'm convinced his were larger. I sometimes found that even with optimal fingerings, once up to tempo it could be a scramble for the notes!

Well, by not duplicating, it at least ensured that previously unrecorded selections took priority. But there are some others that I would like to have played. I'll take another look. Thanks for that.

David

_________________"Interpreting music means exploring the promise of the potential of possibilities." David April

Hello David,I really like these works, as they are high-quality miniatures most suitable for step-wise training in romantic style. Your performances are artistic and thoughtful, as usual. I echo Monica's reference to the Ab Major Etude Nouvelle that uses sesquialtera (though the Liadov does not), and also felt a kinship of the C-minor prelude (first part) to the Chopin Eb minor etude (10/6).

Thanks again.Eddy

_________________Eddy M. del Rio, MD"A smattering will not do. They must know all the keys, major and minor, and they must literally 'know them backwards.'" - Josef Lhevinne

Thanks for the compliment on my playing! I appreciate that. Also the reference to Chopin's Etude 10/6 had escaped me, so thanks to for pointing that out.

Yes, these are wonderful miniatures to say the least. As soon as I played the first one, I knew that members here would like hearing these pieces. I don't know why it took me ever so long to look into Liadoff's music.

David

_________________"Interpreting music means exploring the promise of the potential of possibilities." David April

I think anyone could have been fooled by the Muzyka Edition on the IMSLP. I noticed a quirk in there whereby when you click on that opus, it scrolls down and parks at No. 3 rather than No. 1 up at the top. Strange! I've never encountered that before at the site.

David

_________________"Interpreting music means exploring the promise of the potential of possibilities." David April

After my comments about transliteration I have listened and can now pass judgement

I was of course aware of Lyadov's small (in the sense that almost he wrote were miniatures) talents but these are by in large enjoyable. Perhaps I know best his orchestral words were in happier moments he might remind one of the Stravinsky of the Firebird, so there might have been some truth in the story that Dyagilev had approached him at first. I believe his most substatial work to be a collection of Russian folk-songs for orchestra that actually lasts for more than 15 minutes.

You bring these pieces off the page very well and, while I have enjoyed some better than others, they go very nicely, thank you. I especially enjoyed the non-Pastoral and the Prelude in c.

I beg to differ on the subject of transliteration, David: there is one, internationally recognised, but the only ones who seem to use it are the Italians (Maybe the Czech do also: I need to check), mainly because they have no way to write the final ch sound. Russian words are written as if they were Czech. If you look any Russian up on Wikipedia and the go to the Italian version you will see what I mean:

Nice pieces, well played, and they make an attractive collection. I too hear hints of Chopin, but I wouldn't mind betting there is some Russian folksong in there also, though I'm not sufficiently au fait with the idiom to know for sure.

Thanks for those links to the Italian sites. It was interesting to see their spelling variations.

I wish that Liadoff had left more of an orchestral legacy. One listen to "The Enchanted Lake" leaves no doubt that had he applied that aspect of his talent and ability far more than he did, the music would would have benefitted. He had two enemies: First, despite being an established composer and professor of composition, he was very leery of working in large forms. And second, he was a well known procrastinator. We are fortunate though that he left us an ample and wonderful piano literature.

When you said this:

Quote:

(Maybe the Czech do also: I need to check)

Was that an intentional pun?

David

_________________"Interpreting music means exploring the promise of the potential of possibilities." David April

Thanks for listening to all of the pieces. Indeed in the first one, the Op. 33, No 1, in parentheses underneath the title Prelude is written: "on a Russian theme". It's possible that the theme was from a folk song. They are certainly lovely pieces. I've decided to do a few more before moving on to another composer. I appreciate the compliment on my playing too.

David

_________________"Interpreting music means exploring the promise of the potential of possibilities." David April

Thanks for listening to all of the pieces. Indeed in the first one, the Op. 33, No 1, in parentheses underneath the title Prelude is written: "on a Russian theme". It's possible that the theme was from a folk song.

I made the comment partially in light of the knowledge that Liadov, Liapunov and Balakirev were commissioned to collect folksongs in the early 1890s, so it would make sense if some influences crossed over (they certainly did with Liapunov). I am however a little surprised that someone so notoriously indolent got the commission in the first place!

In the first recording, had the two phrases been mirror phrases, I probably would have made the second one softer than the first for the sake of variety. But the notation between them is different, so I didn't feel as much license to stray from Liadoff's dynamic marking there. But it would be interesting to experiment with it.

This was also my own introduction to Liadoff's music. So I'm glad I could share it here. I'm planning on doing more of these pieces over the next few weeks. Playing "new" music like this is always an adventure.

Thanks for listening.

David

_________________"Interpreting music means exploring the promise of the potential of possibilities." David April

Hi David, thank you for posting Liadov's works, cause I love them!!! It has been a while since I posted here (I'm struggling with my double fuction as a mom and a PhD student ), and as I browsed the list on AR, your post caught my eyes immediatly! I enjoyed your beautiful recordings a lot! What a genius was that composer! His pieces are certainly small but he says something larger than that length through them.I already knew those three pieces except op.33-1, since I watched Berezovsky's recital of Rach and Liadov im Louvre on the web-broadcast, where he played them. If you are interested, someone posted that whole recital on YT. The Loadov sections are: http://www.youtube.com/watch?v=wy9RgaGoqbs&feature=related(from 3:20)http://www.youtube.com/watch?v=OkyCCmjhK7A&feature=relatedOn the second video he plays the three pieces together op.39-4 (which I really want to learn and play) and the Barcarolle (which I had already posted on AR).

And may I ask you and Chris, if you guys know the opus numbers of two pieces, that I like very much but couldn't identify so far? They are two pieces on the first video, one of which starts at 3:25 and the other at 7:00.

_________________Hye-Jin Lee"The love for music. The respect for the composer. The desire to express something that reaches and moves the listener." (Montserrat Caballé about her main motivation for becoming a singer)

Hi David, thank you for posting Liadov's works, cause I love them!!! It has been a while since I posted here (I'm struggling with my double fuction as a mom and a PhD student ),

I may have said this before, but just in case I didn't: you have my greatest respect for being a student, a mom, as well as a splendid pianist ! As well as living in a foreign country and being in command of at least two European languages. So much talent in one person is quite rare.

hyenal wrote:

And may I ask you and Chris, if you guys know the opus numbers of two pieces, that I like very much but couldn't identify so far? They are two pieces on the first video, one of which starts at 3:25 and the other at 7:00.

These are respectively

Prelude Op.57 No.1Prelude Op.10 No.1

I'm not such a fan of Berezovsky (can't precisely say why not) but I have to hand it to him, he plays these most beautifully. Shame about the leather jacket... He only needs a dangling cigarette to look like a Russian mafia capo or a dodgy business tycoon. There's always something about this guy's presentation that makes him look slightly unsavory.

I'm so glad you enjoyed those Liadoff pieces I posted. At first I didn't know quite what to expect from this composer, had never heard the preludes before, but was quickly drawn into them. These pieces are true jewels. I usually make it a point not to listen to other pianists' recordings of pieces I prepare, as I don't want to be influenced. That is, I want to put my own stamp on a piece. I really enjoyed doing these recordings. I was about to move onto to another composer, but was persuaded to do more Liadoff, so I have four more of these preludes in the works now. But I'm not giving out any hints on which ones.

Regarding Berezovsky: When I played the Rachmaninoff revised "Melodie" (posted here), I had heard the Rachmaninoff recording years ago as I have it on CD. Later on I heard the Volodos performance as well. So that was a case where I was already familiar with other recordings, but was still able to do some things differently to make the performance my own--although it could stand some improvements. After I did that recording, I later came across the Berezovsky live recording. I do truly respect him as a pianist. Anyway, he was playing in a large hall in the video, possibly the Salle Pleyel. He came out on stage to play an encore, the revised "Melodie" as it happened. He then spread out the music on the music desk. I wasn't put off by that, as Hamelin sometimes uses sheet music in recital too. And with my inability to memorize anymore, who am I to criticize that?! Well, he was playing and I was keenly interested to see how he would handle the difficult cadenza at the coda. He didn't play it at all!!! He finished the preceding measure, skipped the whole cadenza, and played the final chords in the closing measure. It was like it had been excised. I must say, my jaw dropped open! I thought to myself I certainly couldn't match Volodos' execution of it, but at least I PLAYED the cadenza. Now my jury is out on Berezovsky. Thanks for leaving those two links--I'll check them out. Hopefully he'll redeem himself there.

Best of luck, Hye-Jin in your doctoral program. I'm sure you'll do very well in it. I'm hoping you can still post a recording for us now and then.

David

_________________"Interpreting music means exploring the promise of the potential of possibilities." David April

Last edited by Rachfan on Thu Jun 16, 2011 3:49 am, edited 2 times in total.

I just listened to Berezovsky at the two given links. The first video at the start has most of the Rachmaninoff Prelude 23/10, which I've recorded. I was curious to see what he'd do with the second half of page 2. There are huge rolls in there that are difficult for even large hands. Some pianists take a huge liberty and slow the tempo to accommodate them more leisurely while dwelling on the romantic nuances. But Rachmaninoff didn't want that. And one can only practice that section for short time intervals, as it's dangerous to the hands. I give Berezovsky credit for maintaining tempo throughout. But... he has a couple of klinkers in there. I have to say that from personal experience, playing that section at tempo with correct notes is a super high. But luck wasn't with him.

I liked Berezovsky's Liadoff pieces, although as for the two that he played that I had posted here, I actually prefer my own interpretations. But that is subjective, of course. He did an excellent job in particular with the Barcarolle I thought.

His "Rachmaninoff Recital" if of interest, so I'll watch all of it tonight.

David

_________________"Interpreting music means exploring the promise of the potential of possibilities." David April

I'm not such a fan of Berezovsky (can't precisely say why not) but I have to hand it to him, he plays these most beautifully. Shame about the leather jacket... He only needs a dangling cigarette to look like a Russian mafia capo or a dodgy business tycoon. There's always something about this guy's presentation that makes him look slightly unsavory.

There lives in exile in London one Berezovsky who is unsavoury: wanted by the authorities and what not. It must be a common surname, though, as the first Russian composer to write a symphony was also called Berezovsky and I remember enrolling a student at the school where I work who is one Berezovskaya.

_________________Richard Willmer"Please do not shoot the pianistHe is doing his best."Oscar Wilde: Impressions of America: Leadville

I'm not such a fan of Berezovsky (can't precisely say why not) but I have to hand it to him, he plays these most beautifully. Shame about the leather jacket... He only needs a dangling cigarette to look like a Russian mafia capo or a dodgy business tycoon. There's always something about this guy's presentation that makes him look slightly unsavory.

There lives in exile in London one Berezovsky who is unsavoury: wanted by the authorities and what not.

Yes, and he's also Boris. He's an oligarch; whether being an enemy of Putin makes him unsavoury or not is another matter.

I may have said this before, but just in case I didn't: you have my greatest respect for being a student, a mom, as well as a splendid pianist ! As well as living in a foreign country and being in command of at least two European languages. So much talent in one person is quite rare.

Oh, thank you Chris so much for this, which encourages me a lot in this personally hard time, even though I think this was too OT

Quote:

These are respectively

Prelude Op.57 No.1 Prelude Op.10 No.1

Thank you, Chris!!! Good to have you here, as always! I'm very excited now having the scores (thank the IMSLP, too, which has so much of his works).

Quote:

I'm not such a fan of Berezovsky (can't precisely say why not) but I have to hand it to him, he plays these most beautifully. Shame about the leather jacket... He only needs a dangling cigarette to look like a Russian mafia capo or a dodgy business tycoon. There's always something about this guy's presentation that makes him look slightly unsavory.

Is he wearing a leather jacket there? I though it's a silk jacket... I know and admit that he is not that great for the most cases, but personally I remember his best cases, which let me stay as his fan

_________________Hye-Jin Lee"The love for music. The respect for the composer. The desire to express something that reaches and moves the listener." (Montserrat Caballé about her main motivation for becoming a singer)

I'm not such a fan of Berezovsky (can't precisely say why not) but I have to hand it to him, he plays these most beautifully. Shame about the leather jacket... He only needs a dangling cigarette to look like a Russian mafia capo or a dodgy business tycoon. There's always something about this guy's presentation that makes him look slightly unsavory.

There lives in exile in London one Berezovsky who is unsavoury: wanted by the authorities and what not.

Yes, and he's also Boris. He's an oligarch; whether being an enemy of Putin makes him unsavoury or not is another matter.

As I had googled him (the pianist) for the first time, I was surprised how he looks differently on some photos

_________________Hye-Jin Lee"The love for music. The respect for the composer. The desire to express something that reaches and moves the listener." (Montserrat Caballé about her main motivation for becoming a singer)

Hi Hye-Jin,I'm so glad you enjoyed those Liadoff pieces I posted. At first I didn't know quite what to expect from this composer, had never heard the preludes before, but was quickly drawn into them. These pieces are true jewels. I usually make it a point not to listen to other pianists' recordings of pieces I prepare, as I don't want to be influenced. That is, I want to put my own stamp on a piece. I really enjoyed doing these recordings. I was about to move onto to another composer, but was persuaded to do more Liadoff, so I have four more of these preludes in the works now. But I'm not giving out any hints on which ones.

I'm dying of curiosity, David!

Quote:

Well, he was playing and I was keenly interested to see how he would handle the difficult cadenza at the coda. He didn't play it at all!!! He finished the preceding measure, skipped the whole cadenza, and played the final chords in the closing measure. It was like it had been excised. I must say, my jaw dropped open! I thought to myself I certainly couldn't match Volodos' execution of it, but at least I PLAYED the cadenza.

I already knew that he often overcomes his memory-black with improvisation and gives sometimes the impressions that he haven't finished the work he is playing on the concert yet... But in front of the score... BTW I'm curious about the piece and have to go to your page, David.

Quote:

Best of luck, Hye-Jin in your doctoral program. I'm sure you'll do very well in it. I'm hoping you can still post a recording for us now and then.

Thank you for your kind wish, David! I hope, too, that I can post new things on AR. I actually wanted to record a Brahms chamber music, but that Brahms-project was stopped by some reasons and from that shock I was mislead ( ) to a very difficult piece, so I don't know when it will be possible for me to record something. Maybe after finishing the dissertation??

Quote:

I liked Berezovsky's Liadoff pieces, although as for the two that he played that I had posted here, I actually prefer my own interpretations. But that is subjective, of course.

Yes, your renditions have your own colour. I have respect for that.

Quote:

He did an excellent job in particular with the Barcarolle I thought.

Didn't he? That was the performance which led me to learn and record that piece. But you know, he played many wrong notes which I couldn't notice at all. He changed some harmonies etc.

_________________Hye-Jin Lee"The love for music. The respect for the composer. The desire to express something that reaches and moves the listener." (Montserrat Caballé about her main motivation for becoming a singer)

You need not search too far for the Rachmaninoff revised "Melodie". It's still right here on the front page of Audition Room. It's a gorgeous piece, so I hope you'll enjoy it.

Yes, a doctoral project is all consuming as I know from experience. Plus that Brahms project. If you have no time to record but can spend a little time here to comment now and then, everyone would welcome that, I'm sure! That Brahms project sounds really tough. Sometimes he writes orchestrally rather than pianistically for the piano, resulting in some really awkward and difficult passage work. His music always has a very mature sound though.

Thanks again for your kind comments on my Liadoff pieces.

David

_________________"Interpreting music means exploring the promise of the potential of possibilities." David April

I think that the trend toward informality for artists in recital, such as the ubiquitous black pants and black shirt for men, runs counter to long-standing tradition. Being a performing artist is a noble endeavor, and for that reason the artist should not only strive for peak performance, but should look the part as well. Many will say I'm old school. Maybe so, but that's the way I see it.

David

_________________"Interpreting music means exploring the promise of the potential of possibilities." David April

I don't recall Nigel Kennedy, but I certainly remember Nigel Bruce as the bumbling Dr. Watson playing opposite Basil Rathbone as Sherlock Holmes. Probably makes the same point though. OK, OK, yes, the violinist who plays classical and other genres. He is rather versatile.

David

_________________"Interpreting music means exploring the promise of the potential of possibilities." David April

Very well played, David! Although a few Preludes seem less complete than the Preludes of his other Russian counterparts. Have you also played the Preludes of Kabalevsky or Scriabin as well?... I wish I had the time to finish them as a complete set. You played played this suite of Preludes with sensitivity and understanding...

Any maritime voyages this summer?... I am sailing to Nantucket next week from Hyannis with two other friends, barring any storm(s) this time.

George

_________________"Nobility of spirit has more to do with simplicity than ostentation, wisdom rather than wealth, commitment rather than ambition." ~Riccardo Muti

Thanks for listening to these Liadoff pieces and the nice compliment. Actually he wrote 30 preludes, some in sets and others as standalones. So it's not an insubstantial output by any measure, as there are plenty to choose from there. I currently have four more of these in the works.

I've never touched Kabalevsky's stuff. I have played through some of Scriabin's preludes, but never invested time in preparing them for recordings. I did record his Poeme Op. 32 No. 2. It's funny because some people love his Chopinesque early period works, while others much prefer his mystical music from the late period. I actually like the middle period best! So in the future I'll probably be recording some of that music. I've got ducks lined up next to my piano, so I'm never at a loss of the next recording project!

Have a great time out on Nantucket. Last time I was there was around 1970. We departed from Woods Hole on the Nobska, a vernerable old steamer ferry built at Bath Iron Works in 1925. On the voyage we passed the Nantucket Light Ship, also built by BIW. I put my car on the ferry, so we got around to see all the sights between ferry runs. The town there is really neat.

My wife and I will be on a couple of ferry trips this season, the one out to Swans Island first. Then later on we'll go out to Monhegan Island. We might make it out to North Haven Island as well. It has a charming harbor.

David

_________________"Interpreting music means exploring the promise of the potential of possibilities." David April

"Bath built is best built!" Bath Ironworks is one of the best in the whole country. I love Cape Cod history! The Nobska was before my time, but I've heard about The Friends of Nobska who tried to raise funds to restore the ferry ship after 1975. I know that it lied in dry dock at the Charlestown Navy Yard for 10 years becuase they finally needed the slip for the USS Constitution and USS Cassin Young. Despite efforts, the Steamship Authority scrapped the Nobska about 5 years ago -- Ode to Nobska! However, the Steamship Authority installed the Nobska whistle on the Eagle, BUT they replaced the horn with air power, which doesn't sound anything like the steam powered version. I don't know what they did with the steam engine. I think the Nobska was the last surviving American steamship... You rode it in just the nick of time!

The Nobska was an elegant ferry. They don't make them like that anymore! Too bad the preservation group couldn't save it. And yes, Bath Iron Works rules. It fiercely competes with the Ingalls Shipyard in Mississippi for navy business. Hopefully it can survive into the future. Another great ferry I took with my wife was the MV Bluenose, built in 1955 and operated by the Canadian National Railroad from Bar Harbor, ME to Yarmouth, NS. We put the car aboard and toured most of Nova Scotia in 1969. The crossing took about 6 or 7 hours as I recall, and it was great! The ferry had a crew of 91. The Bluenose was replaced in 2006 by The Cat, docked in Portland, a huge high-speed catamaran ferry. It lost its Canadian subsidy about three years ago and went bust. Now there's no ferry service. I say bring back the Bluenose!!

Bon Voyage on your sail to Nantucket. We'll try to keep the waves no more than 2 feet for you. Have a good time!

David

_________________"Interpreting music means exploring the promise of the potential of possibilities." David April

Dear David,that´s a marvellous performance your great experience and expression can be felt thoroughly! I have listened to all four pieces with great pleasure and interest. I also could follow with score except of op. 33 I couldn´t find it. You play all very exactly and musically, so that is a performance of an excellent standard (as we are used by you).Continue, please, to record such nice gems for us!

I'm so glad you enjoyed these pieces, and thanks for that nice compliment on my playing! Liadoff wrote 30 preludes, and I had only a passing acquaintance with a very few of them, so did not know exactly what to expect. Once I got into practicing them I was pleasantly surprised. These pieces are very brief, but are gems as you say. He wrote many in fast tempos as well, but I gravitated more to the lyrical preludes knowing that I'd enjoy them the most. I'm currently working on four more and hope to record them in July once the piano is tuned. So yes, more to come.

David

_________________"Interpreting music means exploring the promise of the potential of possibilities." David April

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